First, the composer can say, “I aim to look back and write counterpoint that is idiomatic to some stretch of the Renaissance or the common practice period, and since the composers of those times avoided parallel octaves, I must do so too.” Second, the composer can say “I am a 21 st century person, writing in a fully contemporary style, and there’s no need for me to adopt the rules of the past, particularly given that composers before me have already broken those rules to such great effect.” In each case, any detailed inquiry into whether the parallel octave restriction serves a valuable musical purpose can be cut short, and the composer may simply embrace the attitude of whatever style he or she wishes to work in. Stepping outside of an academic context, there are two broad scenarios where a composer need not think too deeply about parallel octaves but can simply adopt an appropriate blanket policy. The teacher may say “First you need to learn the rules before you can break them” but the question of when and how the rules should be broken is prone to deferment. It is a rite of passage for every beginning student of harmony and counterpoint to submit an exercise and receive it back with the parallels circled in red (and points deducted accordingly), to perhaps question the sensibility or fairness of this demerit, but to eventually realize that if he or she wants to pass the class it will be necessary to get good – very good – at identifying and avoiding parallel perfect consonances. The detection of parallel octaves could be called an industry within the larger field of music theory instruction. The problem occurs when contrapuntal independence is the composer’s goal, which is to say that the parts are not supposed to be heard as doubling each other, and yet they seem to be doing just that, crossing the chasm from polyphony to monophony and leaving the number of voices – even if for just a moment – indeterminate.
Of course, parallel octaves occur when instruments or voices explicitly double each other, but in that context the listener is not meant to hear separate melodies: the composer has assigned the same line to multiple players to achieve a certain sonority, not to suggest polyphony. They create the impression that two simultaneous melodic lines – entities which should be perceived as separate at all times – have become indistinguishable, temporarily fusing into one. These latter features may be used to override decisions made by apt-get's conflict resolution system.Parallel octaves are forbidden in traditional counterpoint because – so the textbook explanation goes – they destroy the independence of voices.
#Octave parallel plus
Similarly a plus sign can be used to designate a package to install. If a hyphen is appended to the package name (with no intervening space), the identified package will be removed if it is installed. The /etc/apt/sources.list file is used to locate the desired packages. All packages required by the package(s) specified for installation will also be retrieved and installed. Each package is a package name, not a fully qualified filename.
#Octave parallel install
APT simplifies the process of managing software on Unix-like computer systems by automating the retrieval, configuration and installation of software packages, either from precompiled files or by compiling source code.Īpt-get is the command-line tool for handling packages, and may be considered the user's "back-end" to other tools using the APT library.Īpt-get install is followed by one or more packages desired for installation or upgrading.
#Octave parallel free
More information about install using apt-getĪdvanced Package Tool, or APT, is a free software user interface that works with core libraries to handle the installation and removal of software on Debian, Ubuntu and other Linux distributions. Parallel execution of Octave in clusters of computers
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